How can we forge new forms of coming home to ourselves? On his sophomore album Blurring Time (2025), Bells Larsen collapses time into a series of patient ceremonies. Guided by the satisfaction of simply “being” as a political act, the record explores the ways we write the ever-arriving self into existence. Oscillating between lo-fi 90s indie and searing folk ballads, Larsen’s project features the haunting accompaniment of voices frozen in time. Intentionally designed to align with the timeline of his transition, he recorded his previous “high” voice and instrumentation in 2022, waited for his voice to drop after starting testosterone, and asked longtime friend and frequent collaborator Georgia Harmer to arrange harmonies for his new “low” voice. Together, they created a multilingual, intentional act of surrendering to change. Unlike past projects where vocals were set in the backdrop, Blurring Time unites both voices at the forefront, delivering an unyielding devotional.
Produced by Graham Ereaux, Larsen’s intricately-crafted arrangements evoke Elliott Smith, Sufjan Stevens, and Adrienne Lenker. His lyrics meditate on sibling dynamics, queer world-making, and shared epiphanies, enveloped in soundscapes of quiet intimacy. Blurring Time was longlisted for the 2025 Polaris Prize and spent five weeks at #1 on the Canadian campus radio charts, garnering press in The Guardian, NPR, The Toronto Star, Billboard, Paste, The Line of Best Fit, Under the Radar, and The CBC. Larsen has shared stages with Buck Meek (Big Thief), Land of Talk, Dan Mangan, and Martha Wainwright, and recently appeared at the Pitchfork London Music Festival.
While his past projects have reached outward in love and loss, Blurring Time archives Larsen's journey of self-actualization, harmonizing voices of past and present into a quiet submission to the constant state of becoming.
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